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Domestic Furnishings

Washboards, armchairs, lamps, and pots and pans may not seem to be museum pieces. But they are invaluable evidence of how most people lived day to day, last week or three centuries ago. The Museum's collections of domestic furnishings comprise more than 40,000 artifacts from American households. Large and small, they include four houses, roughly 800 pieces of furniture, fireplace equipment, spinning wheels, ceramics and glass, family portraits, and much more.

The Arthur and Edna Greenwood Collection contains more than 2,000 objects from New England households from colonial times to mid-1800s. From kitchens of the past, the collections hold some 3,300 artifacts, ranging from refrigerators to spatulas. The lighting devices alone number roughly 3,000 lamps, candleholders, and lanterns.

This silver teapot was made by Samuel Casey of Little Rest (later Kingston, R.I.), about 1750, for Abigail Robinson, probably about the time of her marriage to John Wanton of Newport, R.I., in 1752. Shaped like an inverted pear, the teapot has silver feet and a wooden finial. The wooden handle is a later replacement. The teapot came to the National Museum from descendents of the Wanton-Robinson family. In the Museum collection, such household items document the history of daily life, families, and patterns of consumption.

Teapots were among the fashionable items that fit many colonists' taste for stylish possessions in 18th-century British North America. Among the prosperous classes, growing numbers adopted the genteel practice of drinking afternoon tea in imitation of the English gentry. Some Americans imported ceramic tea services, while others patronized local silversmiths. Silver was intrinsically expensive, and it allowed engraved decoration and personalized initials, as on this teapot.

Although Abigail Robinson would change her name at marriage, her teapot expressed her identity with her family of origin. Born in 1732, she was a daughter of Deputy Governor William and Abigail (Gardiner) Robinson, and her family owned large estates in the Narragansett area. Robinson's initials are below the family coat-of-arms, a heraldic decoration that identified the American family as descended from Thomas Robinson, an official of "his Majesty's Court of Common Pleas" in London, England. Such coats of arms were an element of English society's commitment to social hierarchy, the division of the population into the few and elite on the one hand, the many and the common on the other. Silver and other items ornamented with coats of arms testify that immigrants to the New World brought with them some of the social distinctions of the Old World.

Few of us today would look at the cradle and think of death as well as life. But 18th-century families had to expect many children to die in infancy, and for them a cradle may have evoked feelings of both joy and loss. A Virginian wrote in 1786, "Our Dear babey just lived with us long Anuf to make us love him and began to play and be company for us and them was taken from us."

Housework has always been physically demanding and time consuming labor. In the 19th century coal and wood burning stoves constantly soiled walls, drapes, and carpets, so that rug beating, along with window and floor washing, would have been a necessary chore. Usually made of wood, rattan, cane, wicker, spring steel or coiled wire, rug beaters were commonly used to beat dust and dirt out of rugs. A rug beater's flexibility depended on the number of woven switches it had in its paddle, a two-switch beater being more flexible than a three- or four-switch one. This nineteenth-century rug beater consists of three rattan switches, bent into a five-loop paddle and wrapped around an iron wire rod handle. Introduced in the late-nineteenth and early-twentieth centuries, carpet sweepers and vacuum cleaners allowed for higher standards of cleanliness and more frequent cleaning, but lifting heavy vacuums was strenuous work.

Although the vacuum cleaner had been invented in the early 20th century, the mass production and sales of vacuum cleaners did not take off until the economic boom that followed the decade after the First World War (1914-1918). This Hoover vacuum model 700 was produced between 1926 and 1929 and was the first of its kind to feature an aluminum body, an on/off switch, and the agitator brushroll—an innovation that used metal beater strips to vibrate pieces of dirt from carpets. The vacuum was one of the many supposedly labor saving devices marketed in the 1920s that promised to liberate middle-class women, now managing their houses without live-in maids, from the drudgery of housework. Accordingly advertisements for the Hoover 700 depicted a chic flapper of the late 1920s using the vacuum. Although the vacuum did clean more thoroughly than the broom and dustpan, the popularization of such appliances created more exacting standards of cleanliness thus making the hope of simplified housework largely illusory.

Radios, like this Eveready model 2, provided many families of the 1920s with a new form of home entertainment. Amateurs began making home radios to transmit and receive messages early in the 1900s. But using these radios called for engineering skills and a license. Early receivers, called "crystal detectors," while relatively easy to make, required some technical skill and were low in power.

In 1916, David Sarnoff proposed that American Marconi Company sell broadcast transmitting equipment and "radio music boxes" that could receive the broadcast signals. After World War I, Sarnoff and his idea became part of the new Radio Corporation of America (RCA). A 1920 prototype radio designed by Alfred Goldsmith featured a few simple controls and needed no technical training to operate. RCA and other companies established AM (Amplitude Modulation) stations and began selling receivers. Stereo broadcasts were unknown, so radios needed only one speaker.

Listeners were entranced by this new medium that delivered both local news and nationwide "network" programming. Since radios could operate on batteries, reception spread beyond cities. Unelectrified rural areas began tuning in, making farm life seem less isolated. Families began to gather around their radios in the evenings to hear music, sports, comedy, drama—and the commercials that paid for "free" programming. The voices of political leaders and entertainment celebrities reached millions of Americans.

Elaborately styled cabinets, usually of wood, disguised technical components and allowed the radio to blend more easily with other home furnishings. This Eveready model is unusual. The cabinet is metal instead of wood, and can accept optional legs that permit the radio to be converted to a floor-standing model. Radio quickly became popular with Americans, so much so that statistics indicate only two electrical items sold well throughout the Great Depression: light bulbs and radios.

This toy is rather elaborate for a rattle, but several parts of it do make a sound. The cream and pink drum-shaped part at center is decorated with an image of Jack and Jill. On either end of the drum are celluloid links interspersed with celluloid spheres of differing diameters. Also attached to the links at either side of the drum are two celluloid dolls. The toy was probably meant to span a baby's crib.

More than meets the eye, this 17th-century chair-table is what its name denotes, convertible from a chair into a table. The rounded top of the table flips up to become the back of the chair. Its dual-function was especially popular in homes with limited space. The chair-table originally had a drawer that slid under the seat of the chair, allowing for extra storage space.

The chair-table was part of the “Greenwood Gift,” a collection of over two thousand everyday household objects donated by Arthur and Edna Greenwood. Their gift is among the greatest collections of Americana that the Smithsonian has ever collected. As Edna Greenwood once said, their gift exemplifies, “what America was, that makes it what it is.”

The practice of recording family likenesses predates the 1839 invention of photography by thousands of years, as seen in sculptures and paintings. Illuminated family records commemorated births, deaths, and marriages. This watercolor family record from Poland, Maine, recorded the marriage of Miss Betty Haskel and Mr. Jonathan Bennet, as well as the birth dates of their nine children.

Pregnancy and raising children filled the daily lives of many women in the eighteenth century. Marriages, births, and deaths were primarily community affairs prior to the mid-19th century. Family occasions were marked by a gathered congregation, a village, or a household that routinely included servants, apprentices, lodgers, and visitors.

In 1962 a great-great-granddaughter of one of the makers of this quilt donated it to the Museum with the information that it had been made by women in the Adams family. They were said to have made the quilt while the men were away during the War of 1812. The donor’s great-grandfather was Jackson Adams, her great-great uncle, Joshua Adams, and her grandmother, Jane Adams.

This quilt is made up of 7-inch blocks pieced in the "Pinwheel" pattern, alternating with plain white blocks. Detailed stuffed quilting embellishes the white blocks and border. Ten different quilting patterns are used for the plain blocks, all but one repeated.

The 8-inch white border has a quilted-and-stuffed feathered vine with small quilted-and-stuffed floral motifs. White cotton fabric was used for the lining, cotton fiber for the filling and stuffing. The pieced blocks and border are quilted at 9 stitches per inch. The “Pinwheel” Quilt, with its contrast of elaborate stuffed quilting and simply pieced blocks, is a fine example of early 19th-century quilting making.

With daily bathing becoming more accepted by the 1880s, many attempted to develop innovative ways to heat bath water and to incorporate the portable bathtub within a room setting. The Mosely Folding Bath Company advertised a folding bath in the 1895 Montgomery Ward Catalog. This tub, disguised as a mirrored wardrobe, folded down and out of its wood casing into the room, revealing the heater above.

This was similar to Bruschke & Ricke’s combined sofa and bathtub of the same period. The sofa’s bolster concealed a water tank and heater, while the seat unfolded to reveal a bathtub. Often, large rubber aprons protected the wood or carpeted floor. Accounts of igniting sofas and burned bathers dampened the product’s appeal. Since neither bathtub attached to plumbing nor pipes, used bath water drained into a basin and then required emptying.

For more information on bathing and bathtubs in the 19th and early 20th centuries, please see the introduction to this online exhibition.